A Quote by Colleen Haskell

Comic timing... is how to have a relationship with the camera and deal with the camera without looking like you are. — © Colleen Haskell
Comic timing... is how to have a relationship with the camera and deal with the camera without looking like you are.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I have more of a relationship with the subject than I do with my camera equipment. To me, camera equipment is like a tin of shoe polish and a brush - I use that as a tool, but my basic camera is my emotion and my eyes. It's not anything to do with the wonderful cameras I use.
You put your camera around your neck along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.
This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.
The camera is an instrument that teaches people how to see without a camera.
A camera is a tool for learning how to see without a camera.
A camera teaches you how to see without a camera.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
I love the luxury of the camera. The camera does so much for you. I like the secrets a camera can tell.
In the grand spectrum of things in WWE, you are wrestling for that camera and that camera and that camera - and all the cameras they have - and you have to make things work that way because, through that camera, there's a million people watching.
The less friendly your relationship is on camera, the more useful it is to be friends with them off camera.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
The simple act of having a camera, not a cell phone, but a camera-camera, there’s a kind of a heightened perceptional awareness that occurs. Like, I could walk from here to the highway in two minutes, but if I had a camera, that walk could take me two hours.
Whenever there's a camera around, a video or film camera, it's a great deal harder for those in power to bury the story.
I like pointing the camera at the actors and letting them fight. Don't let the camera do the fighting for you, and don't let the camera give them the adrenaline hit. Let the people in the frame do that.
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